Elokuvallisten metaforien luominen päämäärähakuisesti voi olla haastavaa. Käsikirjoittajan saattaa olla helpompaa synnyttää metaforista kerrontaa arkisen havainnoinnin kuin tietoisen vertauskuvien pohdinnan kautta.Cinematic metaphors are figurative narrative modes that can elicit a metaphoric statement: "a is b". The statement is metaphoric if 'a' and 'b' are from different categories of thought and they are not generally perceived as connected elements: for example presenting a prison as a womb. The metaphor brings forth a new meaning, emerged from the interaction of the two juxtaposed concepts.

Film scholars have created various taxonomies for categorizing cinematic metaphors. The types of metaphor commonly mentioned include: juxtaposition, identity asserted, similarity and symmetry, distortion and symbolism. Metaphors can exist in multiple interleaved layers in storytelling.

Metaphors have been traditionally considered as narrative decorations, but their potential uses are broader. They often bring about a stronger emotional impact than a literal expression. They can condense complex meaning into a concise figure. And above all, metaphors are ways of naming the unnamable – something that extends outside our pre-existing categories of thought. Furthermore, metaphorical devices can elicit viewers’ own creativity. When a viewer is trying to interpret the connections between separate figurative elements, they actually participate in the creation of the meaning of the metaphor.

Metaphoric devices can be clearly pointed out or unstressed and subliminal. Juxtaposition created through editing can for example draw attention to itself if the causality or contiguity of space is broken. Clearly marked metaphors invite figurative readings. The metaphorical expressions strongly affect the overall style of the film and on the other hand the genre of the film should guide the choice of metaphoric figures.

Any element in a film that can have a double meaning can serve as a vehicle for metaphor. These include mise-en-scène, costume design, cinematography, editing, etc. Thus each head of department can participate in the creating of cinematic metaphors. The scriptwriter needs to create the thematic base layer, and the other members of the team can add on top of that. The film editor has a special role in creating metaphors based on juxtaposition of elements.

Trying to willfully create cinematic metaphors can be demanding. It might be easier for the writer to approach the subject through routine observations of every-day life.